Whether you’ve collected all the official posters, despise what Darlton have done to the mythology, or have barely seen an episode, you have been for the past six years, one way or another, impacted by Lost.
As the ground-breaking series comes to a close this Sunday, we bring back posting on TV Calling with a week’s worth of articles about the phenomenon (for better, or for worse).
For a show that provoked throughout the years so much heated debates and theories amongst the (non-) initiated, it seems only fitting that we honor it by doing the one thing we do best: discussing and dissecting all of its aspects (some more controversial than others).
From fandom and mythology to storytelling and what the future may hold for the (potential) franchise, we will try to cover as much new ground as “smokely” possible (ha ha, get it?) in the upcoming week.
Well, that surely was riveting (not).
Sure, The Hurt Locker probably wasn’t the best 2009 movie, but nowadays I’m happy if good work is even recognized.
So, yay.
I was pleasantly surprised by Neil Patrick Harris’ opening number.
At least they know who to call for these sorta things.
On the other hand, this didn’t really show much confidence in Alec Baldwin/Steve Martin’s duo (not even seen on stage until the fifth minute).
Twice the host, half the screentime.
The banter following their arrival felt tame at best.
It almost seemed as if they were listing a bunch of famous celebrities in hopes that fangirls all around would “squee”. Alas that wasn’t the case.
Clooney certainly didn’t seem to care about the ceremony.
The jokes themselves didn’t feel much inspired.
Case in point with James Cameron’s “micro-roast” that revolved around, you guessed it, 3-D glasses.
Did anyone else notice that, right after Steve Martin made his joke about Christoph “Jew Hunter” Waltz having hit “the motherload”, they cut to…Ethan Coen?!
Bad taste much?
I was surprisingly surprised at one win: Best Foreign Language Film.
Seemed as if Das Weisse Band was going to get it. Ended up going to El Secreto de Sus Ojos.
Yes, I’m happy about that.
Another shock came when Michael Giacchino was given the Oscar for Best Original Music.
No, I wasn’t shocked because he had won, rather because he hadn’t won before that.
Indeed, this was his first Academy Award ever.
What a shame it didn’t happen sooner. Though great speech.
Incidentally, I’m actually listening to one of the Lost soundtracks as I’m writing this.
And a note to Jennifer Lopez: it’s pronounced Ja-Key-No.
Continuing on the Lost-related talk:
If you were thinking that J.J. Abrams, or, hell, even Terry O’Quinn/Michael Emerson, were going to win an Oscar way before the guy playing Minkowski, think again.
If you’re wondering about that “Kanye West” moment, as people are calling it now, check this out.
Up winning best animated film was a disappointment.
I wish Coraline or Fantastic Mr. Fox had the award.
What’s up with Colin Farell being Jeremy Renner’s actor-buddy on stage and talking about SWAT?!
Weren’t TPTB able to get, I don’t know, any co-star from The Hurt Locker?
Seriously, who thought we would hear about that SWAT movie ever again, let alone at the Academy Awards?
Anyhow, the horror tribute was a bit weird since it included a bunch of movies I’d describe as belonging to the “fantasy” genre (Edward Scissorhands to name just one).
Speaking of, the award for the scariest moment of the evening goes to:
Who knew a comedian painted in blue was going to be a highlight.
Haven’t seen that on TV since a guy named Tobias.
Notice my total lack of thought regarding the major categories.
That’s because I don’t have any.
I’m obviously happy for Bigelow (they took their sweet time to make the historic kudos).
Big “duh” for all the other wins.
And that’s about it.
To finish us off, here’s the genius Modern Family promo they made especially for the Oscars:
So, I woke up this morning with another news that symbolized the continued downfall of the Peacock network.
“Southland” has been cancelled after a quick run in the spring, and while it was scheduled to return in the Friday slot of death in just 2 weeks.
Today, TV commenters are dumbfounded by the decision, which was prompted, according to sources, by a content deemed “too gritty” for 9 p.m. viewers. Some people call it “the first casualty of Jay Leno”; others “the end of NBC’s commitment to excellence in drama”. They’re absolutely right. But I also think it shows tragic misdirection in NBC’s management of their development slate.
“Southland” premiered in the Thursday slot left vacant by “ER”, which was run by John Wells, who also produces this show. The ratings were surprisingly solid, which was seen as a “tour de force” in an otherwise bleak season. But, as we all know, Jay Leno would take all the 10 p.m. slots in the fall. NBC sure wanted to stay in business with Wells, so they decided to renew the show, but put it on Fridays at 9.
Usually, if a show had a gritty content, execs would ask to lighten up the tone of the stories somewhat. Not the case here: they waited until six episodes were completed, and decided it was inappropriate to show on Fridays. This comes after news that Amaury Nolasco was leaving the show, the premiere was pushed back a month…
And there was still a slot on Sundays at 10 pm on midseason.
Oh, wait. That’s “The Apprentice” time.
As we all know, apart from “Law and Order SVU” and its comedy block (with modest ratings compared to the Must-See TV days), nobody even bothers watching the fiction programming anymore. “The Biggest Loser” apparently does fine, and, coming October, “Dateline NBC” will do fine….especially for NBC, who produces the program in-house rather than buying an expensive and “dark” John Wells production for a hefty price tag.
Nikki Finke also reported that “Trauma” could be next to face the axe, with less than 6 million viewers. Barely surprising. And I also bet that the new JJ Abrams project, as well as a few other shows, will be fast-tracked for midseason, once all the drama slates are left vacant.
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